Chord-Tone vs.

Chord-Scale Soloing
by Professor Hal Crook
For the past few decades or so, more
hord-scale approach for soloing over
roach is based on the idea that if a
le can be used as a source to derive

and more jazz players have been using the c

chords in progressions. The chord-scale app
chord is diatonic to a scale, then that sca
melody on that chord.

Using the chord-scale approach gives improvisers (especially less proficient one
s) greater melodic and rhythmic mobility (i.e., they can improvise pitch sequenc
es in eighth notes, triplets, sixteenth notes, etc.). Whereas chord tones must b
e played in leaps (minor third intervals or wider), a chord scale can be played
in steps (major and minor second intervals), and consecutive steps are much easi
er to play fast and accurately than consecutive leaps. In general, less-experien
ced players are also familiar with scales and scale patterns than chord arpeggio
s from practicing technical exercises in method books and, therefore, prefer to
use chord scales for improvising.
A chord scale contains not only the tones of the chord to which it is applied, b
ut also the tensions. Therefore, by improvising on a chord using a chord scale,
the soloist will almost certainly play some chord tones and some of the more col
orful notes (tensions) as well. It is likely that without the help of chord scal
es, a soloist may not know (i.e., be able to hear) specifically what tensions fi
t the chord tones appropriately in a particular harmonic context.
So, in a sense, chord scales do the work of and for the ear. They enable an impr
oviser to play active melody lines that not only agree with the chords, but also
contain the more colorful melody notes (i.e., notes other than chord tones) tha
t the player may not be able to find or select by ear alone.
However, for beginner and intermediate-level players, the chord-scale approach h
as a potential downside. Many students begin studying chord scales early in thei
r musical education and attempt to apply the knowledge acquired immediately on t
heir instruments. Unfortunately, this often happens too soon in the student's de
velopment as an improviser--before he or she has learned how to shape an appeali
ng improvised melody by ear on a chord or chord progression using only, or mainl
y, chord tones.
Chord scales can present too much information, or information that cannot be rea
dily processed, controlled, and used musically by the novice improviser. It is m
uch easier to understand chord-scale theory than it is to apply it with musical
results in an improvised solo. Improvising on chords with chord scales means tha
t a soloist can play melody notes that he or she does not recognize or cannot id
entify and control by ear. This can result in wandering, shapeless, directionles
s, or mechanical-sounding melody lines. Often the lines are played in eighth not
es to the exclusion of all other rhythm values, producing undesirable melodic an
d rhythmic content. Such improvised melodies often tend to outline tonic quality
on nontonic functioning chords and vice versa.
Direction changes in the melodic curve are also somewhat less frequent because t
he rhythms are predominantly eighth notes and are less noticeable because of the
predominance of stepwise motion. (Melodic intervals wider than a second or a th
ird are less common if not rare in elementary-level improvised solos using the c
hord-scale approach.) This produces a consistently linear melodic line that soun
ds limited or uninteresting because it is not balanced by more angular melodic c
urves.
It is relevant to point out here that the pioneers of jazz improvisation relied
on their listening/hearing skills and their ability to accurately outline basic

chord sound to guide their improvising and to create inspired melodies. They did
not rely on the mechanics of chord scales. Beginning improvisers should, theref
ore, first experience how good it sounds and how right it feels to play inside t
he chords using only the chord tones before experiencing the allure and sophisti
cation of chord scales. Improvising melodies using only chord tones connects the
soloist to the song's harmony, giving him or her a feeling of oneness with the
music. This is essential before a player can hear how to use chord scales and no
nharmonic approach notes effectively.
Ideally, melodic ear training for improvisers should begin with chord-tone soloi
ng and then advance to chord tones with approach notes and/or chord scale soloin
g. The musical example is a chord-tone solo on the progression of a well-known s
tandard tune.